Niksa Gligo

Born in Split in 1946. Croatian musicologist. He graduated in English and comparative literature from Zagreb University (1969) and in musicology from Ljubljana University (1973). He later studied with Koraljka Kos at Zagreb University (MA 1981) and with Andrej Rijavec at Ljubljana University, gaining the PhD in 1984 with a dissertation on problems of new music. He was awarded scholarships to study at the universities of Cologne, Berlin (with Carl Dahlhaus and Rudolf Stephan) and Freiburg (with H.H. Eggebrecht). He was artistic director of the Music Salon of Zagreb University (1969–86) and programme director of the Music Biennial Zagreb (1973–91). He has taught at the Zagreb Academy of Music since 1986 and the Faculty of Organization and Informatics in Vara_din since 1996. He was on the executive committee of the European Conference of the Promoters of New Music (1989–94) and is vice-president of the section for semiotics at the Croatian Society for Social Sciences and Humanities (from 1995).
Gligo is concerned with the aesthetics, semiotics and terminology of 20th-century music and the use of computers in musicology. His project on the standardization of 20th-century Croatian music terminology resulted in his book Pojmovni vodi_ kroz glazbu 20. stolje_a, which is relevant to both musicology and linguistics, and for which he received the Croatian National Award in the Humanities.

Abstract: “Permutations of Sound Into Music: Pierre Schaeffer's Idea of "Abstractness" and "Concreteness" of Music“

Pierre Schaeffer's Idea of "Abstractness" and "Concretness" of Music.
U glazbi su permutacije prili_no hermeti_an pojam: odnosi se npr. na permutacije serija u serijalnoj glazbi ili pak na odre_ene repetitivne postupke u minimalnoj glazbi. Bojim se da _e to za va_e "ob_instvo" biti prili_no neatraktivno i nerazumljivo! Ono _to bi vama trebalo bile bi recimo permutacije u kojima se jedna vrsta glazbe (npr. Bachova Fuga u d-molu) permutira s drugom (ista ta Fuga u jazz verziji npr.). Ili jo_ primjera: Permutacija konkretnoga zvuka kao zvukovnoga objekta u glazbeni zvuk kao glazbeni objekt - u teoriji konkretne glazbe Pierrea Schaeffera. Za takvu bi mi vrstu sadr_aja trebalo dosta pripreme a za to nemam vremena. Lak_e bi bilo sa Schaefferom, no tako_er ne znam koliko bi to moglo biti va_e_e za va_e "ob_instvo". Moje bi predavanje svakako moglo biti jedino teorijsko a onda je vrlo te_ko na_i temu koja bi bila apsolutno popularna.

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with Antal Lux